TY, Thel

Featuring 280 curated photographs, this definitive archive celebrates the unforgettable career of a brilliant Hollywood character actor. More than just a tribute, this book is a rallying cry to award Thelma Ritter the Academy Honorary Award she deserves-57 years after she died.

Thelma Ritter was in her mid -forties when she appeared in her first film, the perennial Christmas favourite Miracle on 34th Street 1947. Ritter was Every Mother and crafted a career playing working-class women, usually speaking in the vernacular of her beloved New York borough of Brooklyn.

In an extraordinary career, Ritter received a record six Oscar nominations for best support. And she won . . .

. . . None.

Award-winning film noir cultural analyst Bernie Dowling is campaigning to set the record straight, to have Thel Ritter awarded an Academy Honorary Award, half a century after her death in 1969. TY, Thel is the campaign documentation.

What's Inside:

Reviews of eighteen of Thel's films, with more than 280 photographs of Ritter, Hollywood films, and the people who created them.

The forgotten period piece: Thelma's second-to-last film was a 1960s social-issues neo-noir about a New York train ride from hell.

A Letter to Three Wives 1948: Sharp-tongued Sadie Dugan gives us the lowdown on the festive season. "You got it mixed up with Christmas. New Year's Eve is when people go back to killing each other."

All About Eve 1950. This noir satire does for theater what Sunset Boulevard did for film in the same year. The caustic wit of Birdie Coonan: "What a story! Everything but the bloodhounds snapping at her rear end."

As Young as You Feel 1951: Thelma leaps to the defence of Brooklyn when no other character has mentioned the borough. "The first thing you know, somebody will remind me that I came from Brooklyn. But first, I would like to remind them that some of the finest people in the world came from Brooklyn."

Pickup on South Street 1953: It was a travesty that Ritter did not win the Oscar for one of the greatest character roles in the history of film noir. Moe (Ritter) peddles neckties on the street and sells information to the police to save money so they won't bury her in a pauper's grave.

Rear Window 1954: Two classics in a row for Ritter as she plays a nurse and budget philosopher in this Alfred Hitchcock thriller.

Pillow Talk 1959: Doris Day, dressed to the nines, trades naughty banter with Rock Hudson and Ritter in this romcom.

The Misfits 1961: The cowboy neo-noir and everybody dies, not in the movie but Clark Gable, Marilyn Monroe and Montgomery Clift shortly after. The film's a gem, and Thelma Ritter and Monroe are a sparkling duo.

Birdman of Alcatraz 1962: Ritter's character arc as the mother of the never-to-be-released Birdman is as fine a piece of acting as you will see.

How the West Was Won 1962: This blockbuster Western had some of the biggest stars in the business, and Ritter held her head high with the best of them.

Throughout his book, Dowling's sly humor and sharp cultural analysis make this campaign for a Ritter Academy Honorary Award a fitting tribute to the Hollywood support player.

Cinephiles and film students who understand the importance of the character actors to film noir, comedy, and drama will devour every page of Dowling's feast.